Crush (Orchestral Manoeuvres in the Dark album)

OMD performing in 2011. The band were keen to approximate their live form on Crush, although producer Stephen Hague opted to introduce a more polished sound to the US market.

With OMD's Gramophone Suite studio now dismantled, the band commenced work at the more sophisticated Amazon Studios (also in Liverpool) in late 1984. The group booked Amazon for two months and tried to embrace a more relaxed, almost spontaneous approach to songwriting. Bandleaders Andy McCluskey and Paul Humphreys averaged a new composition every two days, with much of the lyrical content coloured by McCluskey's blossoming relationship with girlfriend (and future wife) Toni.[1] OMD continued to make use of the Fairlight CMI sampler keyboard, which had been introduced on predecessor Junk Culture (1984). In time, many of the Fairlight-generated sounds were replaced by tracks played by instrumentalists Martin Cooper and Malcolm Holmes, and session musicians Graham and Neil Weir. Humphreys explained, "We were looking for a more band-type sound, since a lot of people have been telling us for ages that they like the way we sound on stage."[1]

As OMD set their sights on breaking America, Virgin Records suggested American producer Stephen Hague, of whom the band were fans.[2] The group began recording with Hague in spring 1985 at The Manor, Shipton-on-Cherwell. Hague would heavily influence the feel of Crush, employing a meticulous approach and largely streamlining the band's sound. OMD had reservations about Hague's production, which McCluskey felt approached "dullness"; Humphreys admitted publicly at the time, "It's a little smoother than we would have done it ourselves."[1][3] Mixing was completed at Advision, London. The pressure of finishing the album on time, while working 19-hour days in a basement room with "very peculiar acoustics", served to damage rapport between the exhausted group members.[1]

Despite its polished sound, the album features elements of the band's trademark early experimentation.[4][5] Sampling was extensively used on both the title track and "The Lights Are Going Out", with the former utilising tuned snippets of Japanese television commercials recorded by McCluskey; Humphreys' then-wife Maureen provided additional vocals on both songs.[6] Elsewhere, "88 Seconds in Greensboro" was inspired by a TV documentary about the Greensboro massacre of 1979, and was recorded in one live take.[6] "Hold You" was considered as the follow-up single to "So in Love", and a video made, but the group ultimately reneged on the idea.[6] Other tracks considered for inclusion were "Heaven Is" and "Southern".[6] The title Crush refers to the number of love songs on the record.[6]

OMD intended to use a painting by American artist Edward Hopper for the sleeve art. Martin Kirkup, the band's then-manager, stated, "I remember Andy McCluskey telling me the reason he wanted a Hopper-style painting on the cover of Crush was that he had always felt there was a lot of melancholy in the paintings of Hopper and he felt that it matched the melancholy that was in the songs." After learning of the enormous fees required to reproduce Hopper's work, the group instead hired artist Paul Slater to imitate Hopper's style (in conjunction with XL Design). Slater based his artwork on Hopper's Early Sunday Morning (1930).[6]

Professional ratings

Review scores
Source	Rating
AllMusic	[7]
Calgary Herald	B+[8]
Mercury & Herald	9/10[9]
Number One	[10]
Orlando Sentinel	[11]
Record Mirror	[12]
The Rolling Stone Album Guide	[13]
Smash Hits	8/10[14]
Times Colonist	[4]
Winnipeg Free Press	[15]

Crush met with critical acclaim in the UK.[1] It received five-star ratings from Debbi Voller of Number One and Robin Smith at Record Mirror, the former writing, "Crush... is a collection of remarkable songs. Each one has a life and mood of its own and OMD have cleverly combined atmosphere with instant appeal."[10][12] Melody Maker's Helen Fitzgerald named Crush the best OMD album to date, adding, "As a pop record it's sublime, intricate and unyieldingly persuasive, it doesn't give up its secrets lightly and the excitement is in the chase."[5] Ian Cranna of Smash Hits said the album delivers "what OMD do best – strong, melodic songs – in a more lush, er, orchestral setting while retaining that passionate punch... it's the welcome return of the thinking person's dance music."[14] The Guardian's Robin Denselow stated that the group are "playing it safe" on Crush, but are "still able to roll out the strong melodies" and "swirling pretty songs".[16]

Glen Gore-Smith of the Winnipeg Free Press wrote, "On Crush, the band has found a missing link between pop art and commerce. And, rather than compromising itself, OMD maneuvers with integrity."[15] The Calgary Herald's James Muretich said of the record, "It emphasizes danceable electro-pop at the expense of experimentation... Crush won't bowl one over, but will seduce one gradually with its elegance and wit."[8] Paul Bennett of the Times Colonist felt somewhat alienated by the album's polished sound, but allowed that it does contain "a few daring flirtations of the kind that [OMD] put out on earlier works".[4] The Morning Call's Len Righi suggested that fans of the group's previous output "may be shaking their heads... Which is not to say the songs aren't catchy or well-crafted."[17]

Indeed, Crush has been disparaged by adherents of OMD's earlier work.[13] Dave Connolly of AllMusic was among those to negatively compare the album to previous efforts, observing a "lightweight" record that "represents a nearly complete reinvention of the band's original ideals."[7] Site editor Stephen Thomas Erlewine was more favourable, saying that it "may be less adventurous than [OMD's] earlier work" but is still a "thoroughly winning album".[18] Rolling Stone's Paul Evans wrote, "With Crush, pure, luscious melody rules. Disowned (of course) by the band's cult, Crush is OMD at its most purely pop—'So in Love' and 'Secret' are flawless."[13] Andy Page of God Is in the TV described the record as "criminally underrated".[19]

All tracks are written by OMD, except where noted.

Credits are adapted from the liner notes of Crush.[28]

• Paul Humphreys – vocals; electronic keyboards; piano
• Andy McCluskey – vocals; guitar; bass guitar; electronic keyboards
• Malcolm Holmes – drums; electronic and acoustic percussion
• Martin Cooper – vocals; saxophone; electronic keyboards
• Stephen Hague – electronic keyboards; guitar
• Graham Weir – trombone; electric guitar
• Neil Weir – trumpet
• Maureen Humphreys – additional vocals

• Album lyrics